Instrument and Player Position

Total Page:16

File Type:pdf, Size:1020Kb

Instrument and Player Position Instrument and Player Position As you probably have been told before, instrument position and player posture are the easiest factors of instrument technique to execute correctly. Unfortunately, they are also the most often ignored factors of instrumental technique. The drum set is a highly adjustable group of instruments. It is easy to customize the position of the different drums and cymbals in order to make the drum set fit you. Here are some general guidelines to follow when positioning the drum set for playing: • Adjust the throne (seat) to a height that allows you to move your ankles in a natural manner. This will allow you to easily operate the pedals of the bass drum and the hi-hat. • Position the snare drum and all of the toms (including the floor tom) so that they may all be reached using smooth, efficient motion. Keep the batter heads of the drums on as close to the same vertical level as possible. • Keep all of the instruments as close together as is practical. Remember that cymbals need room to move after being struck without hitting other instruments. • Make sure that you can reach all of the instruments comfortably from the seated position. • Remember that the goal of playing a musical instrument is to sound good- not to look good. The best position for playing the instrument is not necessarily the one that looks the “coolest”, but hey- you’re playing drum set- you’re already cool! 8 Sitting down at the drum set Before you sit on the throne, adjust it so that when you are sitting on it you can move your feet up and down at the ankle comfortably. Sit down with the snare drum between your legs, the bass drum to the right, and the hi-hat to the left. Adjust the bass drum and hi-hat so that they are close to you, but not so close that operating the pedals is uncomfortable. Adjust the snare drum to a comfortable playing height. Tilt the mounted (high and low) toms toward you and lower them so that they are close to the snare drum. The high tom (the one on the left), the snare drum, and your pelvis should all be in a straight line and you should be facing the high tom. Place the floor tom as close to the low (right) mounted tom as possible. Adjust each leg supporting it so that it is tilted slightly toward you and at a height that is close to the other drums. The ride cymbal should sit to the right of the bass drum and overlap the low mounted tom and the floor tom. Lower the ride cymbal enough that it is easy to reach- you will be playing it often if you are in jazz band. Place the crash cymbal to the left and slightly in front of the drum set. Once again, make sure that it is comfortable for you to reach. Bass Drum High Tom Crash Cymbal Low Tom Ride Cymbal Hi-hat Floor Tom Snare Drum Throne Figure12: Placement of the drum set components 9 Rock Style Explained Rock is the simplest style to play on the drum set, so it is a logical starting point for the beginning drummer. The basic rock beat only requires the player to coordinate three limbs at once: both arms and the right leg. Here is a breakdown of what each limb does in rock rhythm: • The right hand plays either constant eighth notes or constant sixteenth notes on the closed hi-hat or the ride cymbal. • The left hand plays the snare drum on beats two and four. This is known as a back beat. • The right foot plays the bass drum on beats one and three. *The Rock Exercises are demonstrated in Chapter 4 of the video 17 Rock Exercises R1 Righty y Handy y (Hi-haty y y or yRidey Cymbal)y y y y y y y y y y y y y y y y y y y y y y y ã44 . R2 Right Foot (Bass Drum) . ã œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ . R3 Left Hand (Snare Drum) ã Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ . R4 Right Foot (Bass Drum) & Right Hand (Hi-Hat or Ride Cymbal) y y y y y y y y y y y y y y y y y y y y y y y y y y y y y y y y . ã œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ . R5 Left Hand (Snare Drum) & Right Hand (Hi-Hat or Ride Cymbal) y y y y y y y y y y y y y y y y y y y y y y y y y y y y y y y y ã Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ . R6 Left Hand (Snare Drum) & Right Foot (Bass Drum) Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ . ã œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ R7 Basic Rock Rhythm y y y y y y y y y y y y y y y y y y y y y y y y y y y y y œ œ y œ œ y œ œ y œ œ . ã œ œ œ œ œ œ œ œ . R8 Advanced Rock Rhythm yyyyyyyyyyyyyyyy yyyyyyyyyyyyyyyy yyyyyyyyyyyyyyyy yyyyyyyyyyyyyyyy œ. œ œ œ œ œ. œ œ œ œ . ã œ. œ œ œ œ œ œ œœ œ œ. œ œ œ œ œ œ œœ œ ..
Recommended publications
  • Electrophonic Musical Instruments
    G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 .
    [Show full text]
  • Product Guide 2020
    Product Guide 2020 ZILDJIAN 2020 PRODUCT GUIDE CYMBAL FAMILIES 3 K FAMILY 5 A FAMILY 13 FX FAMILY 17 S FAMILY 19 I FAMILY 21 PLANET Z 23 L80 LOW VOLUME 25 CYMBAL PACKS 27 GEN16 29 BAND & ORCHESTRAL CYMBALS 31 GEAR & ACCESSORIES 57 DRUMSTICKS 41 PRODUCT LISTINGS 59 1 Product Guide 2 THE CYMBAL FAMILY 3 Product Guide 4 THE FAMILY K ZILDJIAN CYMBALS K Zildjian cymbals are known for their dark, warm sounds that harkens back to the original K cymbals developed by Zildjian in 19th Century Turkey. Instantly recognizable by their ˝vented K˝ logo, K cymbals capture the aura of original Ks but with far greater consistency, making them the choice of drummers from genres as diverse as Jazz, Country and Rock. RIDES SIZES CRASHES SIZES HIHATS SIZES EFFECTS SIZES Crash Ride 18˝ 20˝ 21˝ Splash 8˝ 10˝ 12˝ HiHats 13˝ 14˝ Mini China 14˝ Ride 20˝ 22˝ Dark Crash Thin 15˝ 16˝ 17˝ 18˝ 19˝ 20˝ K/Z Special HiHats 13˝ 14˝ EFX 16˝ 18˝ Heavy Ride 20˝ Dark Crash Medium Thin 16˝ 17˝ 18˝ Mastersound HiHats 14˝ China 17˝ 19˝ Light Ride 22˝ 24˝ Cluster Crash 16˝ 18˝ 20˝ Light HiHats 14˝ 15˝ 16˝ Dark Medium Ride 22˝ Sweet Crash 16˝ 17˝ 18˝ 19˝ 20˝ Sweet HiHats 14˝ 15˝ 16˝ Light Flat Ride 20˝ Sweet Ride 21˝ 23˝ DETAILS: Exclusive K Zildjian random hammering, traditional wide groove lathing, all Traditional except 21” Crash Ride 6 SPECIAL DRY K CUSTOM CYMBALS K Custom cymbals are based on the darker, dryer sounds of the legendary K line but have been customized with unique finishes, K CUSTOM SPECIAL DRY CYMBALS tonal modifications, and manufacturing techniques.
    [Show full text]
  • Ludwig Musser Concert Percussion 2013 Catalog
    Welcome to the world of Ludwig/Musser Concert Percussion. The instruments in this catalog represent the finest quality and sound in percussion instruments today from a company that has been making instruments and accessories in the USA for decades. Ludwig is “The Most famous Name in Drums” since 1909 and Musser is “First in Class” for mallet percussion since 1948. Ludwig & Musser aren’t just brand names, they are men’s names. William F. Ludwig Sr. & William F. Ludwig II were gifted percussionists and astute businessmen who were innovators in the world of percussion. Clair Omar Musser was also a visionary mallet percussionist, composer, designer, engineer and leader who founded the Musser Company to be the American leader in mallet instruments. Both companies originated in the Chicago area. They joined forces in the 1960’s and originated the concept of “Total Percussion." With our experience as a manufacturer, we have a dedicated staff of craftsmen and marketing professionals that are sensitive to the needs of the percussionist. Several on our staff are active percussionists today and have that same passion for excellence in design, quality and performance as did our founders. We are proud to be an American company competing in a global economy. This Ludwig Musser Concert Percussion Catalog is dedicated to the late William F. Ludwig II Musser Marimbas, Xylophones, Chimes, Bells, & Vibraphones are available in “The Chief.” His vision for a “Total Percussion” a wide range of sizes and models to completely satisfy the needs of beginners, company was something he created at Ludwig schools, universities and professionals.
    [Show full text]
  • Drum Kit List
    DRUM KIT LIST LISTE DES KITS DE BATTERIE LISTA DE CONJUNTOS DE BATERÍA DRUM KIT-LISTE Drum Kit List / Liste des kits de batterie/ Lista de conjuntos de batería / Drum Kit-Liste • Same as Standard Kit 1 • Comme pour Standard Kit 1 • No Sound • Absence de son • Each percussion voice uses one note. • Chaque sonorité de percussion utilise une note unique. Voice No. 117 118 119 120 121 122 Keyboard Standard Kit 1 Standard Kit 1 Indian Kit Arabic Kit SE Kit 1 SE Kit 2 Note# Note + Chinese Percussion C1 36 C 1 Seq Click H Baya ge Khaligi Clap 1 Cutting Noise 1 Phone Call C#1 37 C# 1Brush Tap Baya ke Arabic Zalgouta Open Cutting Noise 2 Door Squeak D1 38 D 1 Brush Swirl Baya ghe Khaligi Clap 2 Door Slam D#1 39 D# 1Brush Slap Baya ka Arabic Zalgouta Close String Slap Scratch Cut E1 40 E 1 Brush Tap Swirl Tabla na Arabic Hand Clap Scratch F1 41 F 1 Snare Roll Tabla tin Tabel Tak 1 Wind Chime F#1 42 F# 1Castanet Tablabaya dha Sagat 1 Telephone Ring G1 43 G 1 Snare Soft Dhol 1 Open Tabel Dom G#1 44 G# 1Sticks Dhol 1 Slap Sagat 2 A1 45 A 1 Bass Drum Soft Dhol 1 Mute Tabel Tak 2 A#1 46 A# 1 Open Rim Shot Dhol 1 Open Slap Sagat 3 B1 47 B 1 Bass Drum Hard Dhol 1 Roll Riq Tik 3 C2 48 C 2 Bass Drum Dandia Short Riq Tik 2 C#2 49 C# 2 Side Stick Dandia Long Riq Tik Hard 1 D2 50 D 2 Snare Chutki Riq Tik 1 D#2 51 D# 2 Hand Clap Chipri Riq Tik Hard 2 E2 52 E 2 Snare Tight Khanjira Open Riq Tik Hard 3 Flute Key Click Car Engine Ignition F2 53 F 2 Floor Tom L Khanjira Slap Riq Tish Car Tires Squeal F#2 54 F# 2 Hi-Hat Closed Khanjira Mute Riq Snouj 2 Car Passing
    [Show full text]
  • All-State 2019 Gear List .Xlsx
    2019 Iowa All-State Music Festival Percussion Source is proud to provide performance equipment for the Iowa All-State Music Festival Item # Model # Instrument Brand Description List Price Regular Price* Festival Price** You Save Availability*** D00069 XSKV35 Xylophone XYLOPHONESOLOIST;3.5OCT;ZELON BARS $3,867.65 $2,107.95 $1,939.31 $168.64 Available D00068 MCKV43 MarimbaAdams MARIMBA;CONCERT;4.3;SYNTHETIC $7,560.00 $4,123.40 $3,711.06 $412.34 SOLD D00664 GC0-26 BELLS;2.6 OCT;CONCERT $3,578.00 $1,961.29 $1,785.00 $176.29 Available Glockenspiel & Stand 150347 KS8190 On Stage KEYBOARD STAND $55.99 $33.95 $30.56 $3.40 Available D00233 YV2700C Vibraphone Yamaha VIBRAPHONE;3.0OCT SILVER $8,018.00 $4,313.70 $4,098.02 $215.68 Available D01108 BK-3203C Chimes Adams CHIMES;SYMPHONIC;1.5"DIAMETER 1.6OCT $9,154.00 $4,992.51 $4,493.25 $499.26 Available D00455 D-3000TC Pearl TIMPANI THRONE $557.00 $322.86 $290.57 $32.29 Available Timpani and Throne D00451 P2KGSET4 Adams TIMPANI;SMOOTH COPPER;23/26/29/32 $23,220.00 $12,041.50 $11,078.18 $963.32 Available D00919 PBE-3618/S Bass Drum BASS DRUM;36X18;W/STBD STAND $3,529.50 $1,668.00 $1,517.88 $150.12 Available D00793 PHX-1465 Pearl CONCERT SNARE;6.5X14AFRICAN MAHOGANY $1,384.00 $666.67 $600.00 $66.67 Available Snare Drum and Stand D00701 S-1030LS SGL BRACED SNARE STAND $260.00 $164.95 $148.46 $16.50 Available D00072 PTE-1012 TOMS;CONCERT;10/12;T890W;DEMO $922.00 $438.00 $402.96 $35.04 Available Concert Toms Pearl D00073 PTE-1314 TOMS;CONCERT;13/14;T890W;DEMO $992.00 $461.36 $424.45 $36.91 Available 204319
    [Show full text]
  • A Guide to Cymbals, Part 4 by Nick Petrella
    A Guide to Cymbals, Part 4 by Nick Petrella PLACEMENT The optimum place for cymbals in concert ensembles is either between the snare and bass drum or with the accessories between the snare drum and mallet keyboard instruments. The number of people covering parts and the instrumentation will be the deciding factor. In marching ensembles, the cymbals may be placed anywhere in the pit. Again, the number of people and instrumentation will be the deciding fac- tor. An important sound factor is removing the hand cymbal players from in front of the snare drummers as soon as the cymbal pattern is finished. If not, they will absorb a lot of sound, especially if there are sound scoops on the snare drums. Music and Tray Stand Placement The important consideration with music stand placement is to keep it high enough to see the music and the conduc- tor. Percussionists should place the music stand at an angle so the music is not blown away by the wind produced by playing the hand cymbals. Carpeted tray tables are more versatile than cymbal cradles because they are easy to use and can hold sticks, mallets and small instruments as well as cymbals (Figures 31 and 32). They are inexpensive to make. No noise oc- curs when setting the cymbals down because the straps touch the cymbals. A tiered tray stand works well too as it holds a collection of small instruments, sticks and mallets on stage. Whether a tray table or cymbal cradle is used, it should be placed between the percussionist and the conductor.
    [Show full text]
  • 5Th-12Th Grade Concert Percussion Curriculum: a Detailed Guide to Techniques and Resources for Non-Percussionist Music Educators
    Eastern Illinois University The Keep Undergraduate Honors Theses Honors College 2018 5th-12th Grade Concert Percussion Curriculum: A Detailed Guide to Techniques and Resources for Non-Percussionist Music Educators Rodney Rote Jr. Follow this and additional works at: https://thekeep.eiu.edu/honors_theses Part of the Curriculum and Instruction Commons, Music Education Commons, and the Music Pedagogy Commons 51h 12th Grade Concert Percussion Curriculum A detailed guide to techniques and resources for non·percussionist music educators. (TITLE) DY Rodney Rote, Jr. ····-----·--·- ·---- --- UNDERGRADUATE THESIS Submitted in partial fulfillment of the requirement for obtaining UNDERGRADUATE DEPARTMENTAL HONORS Departmentof Music along withthe Honors College at EASTERN ILLINOIS UNIVERSITY Charleston, Illinois 2018 YEAR I hereby recommend this thesis to be accepted as fulfilling the thesis requirement for obtaining Undergraduate Departmental Honors I� o.,r��t THESI ADVI 0 _Cti:-�I \� � 1_? _ Daie\··· 5 th - 12 th Grade Concert Percussion Curriculum A detailed guide to techniques and resources for non­ percussionist music educators. By Rodney Rote, Jr. Index Introduction Forward Page 2 Application Page3 Skill Level Break Down Page4 Chapter1 Page5 Snare Drum Chapter 2 Page12 Keyboard Percussion Chapter 3 Page18 Accessory Percussion Tambourine Page18 Triangle Page 20 Bass Drum Page 21 Cymbals Page 22 Hand Drums Page23 Chapter 4 Page26 Timpani Chapter 5 Page29 Percussion Ensemble Closing Remarks Page 32 1 Introduction Forward Primary and secondary school band directors enrolled in a semester long percussion methods course while pursuing their teaching degree. For most, only a semester of learning about the broad world of percussion is not enough to be as proficient at teaching percussion, unless percussion is their primary instrument.
    [Show full text]
  • Scoring Percussion and Drum Set Parts in Sibelius Tom Rudolph, Presenter Email: [email protected] Website
    Scoring Percussion and Drum Set Parts in Sibelius Tom Rudolph, presenter Email: [email protected] Website: www.tomrudolph.com The PAS Standard Sibelius uses the Percussive Arts Society (PAS) standard for drum set notation. There are three basic rules for this style of notation: About Drum Maps • Sibelius uses percussion maps or drum maps that assign sounds and percussion notation to specific lines and spaces. • There are many different drum maps in Sibelius and the sounds and noteheads are frequently assigned differently in each map. • Sibelius gives you two options when entering into percussion staves with a MIDI keyboard. You can play the MIDI drum pitch or play the staff notes to which the percussion sound is assigned. I find playing the MIDI note on a MIDI keyboard to be the most efficient entry method and it usually requires the least amount of editing. First, you must tell Sibelius which entry method you are going to use. 1. Select Preferences: a. Mac: Select Sibelius > Preferences > Note Input. b. Win: Select File > Preferences > Note Input. 2. Under Percussion staves, check “The MIDI Device’s drum map.” 3. Click OK to close the Preferences window Below is a partial list of the standard General MIDI percussion map note assignments. You can download the complete file from www.sibeliusbook.com in the Downloads page: 1. Open the sample file: DrumNotation.sib. 2. Select the percussion staff. 3. Press Esc to clear the selection. 4. Play the notes on your MIDI keyboard. You should hear the corresponding drum sound as the notes are played.
    [Show full text]
  • 2019 PRODUCT CATALOG 1 2 Table of Contents Acoustic Drums Dios 4 - 5 M.A.X 6 Hybrid 7 Journeyman 8 - 9 SE Flyer 10 D Series 11 - 15
    2019 PRODUCT CATALOG 1 2 Table of Contents Acoustic Drums Dios 4 - 5 M.A.X 6 Hybrid 7 Journeyman 8 - 9 SE Flyer 10 D Series 11 - 15 Snare Drums 16 - 17 Hardware 18 - 22 Deccabons 23 Electronic Drums 24 - 25 Electronics 26 - 27 Triggers 28 - 29 Bags & Merch 30 - 31 3 SKU: DS MP 320 DS MP 324 DS MP 522 snare Finishes: shell: maple plies: 8 shell thickness: 8mm Satin Gold Red Cherry Emerald Green hoop: 2.3mm triple flanged Sparkle Sparkle bearing edge: 30/45 degree hardware: chrome tone: warm to bright: excellent projection Satin Black toms shell: maple plies: 6 Add ons: shell thickness: 5.6mm hoop: 2.3mm triple flanged bearing edge: 30/45 degree hardware: chrome tone: warm to bright: excellent projection Snare Drums: Rack Toms: 7x13, 6.5x14 7x8, 7x10, 8x12, 9x13 bass drum shell: maple plies: 6 shell thickness: 6mm hoop: maple bearing edge: 30/45 degree hardware: chrome Floor Toms: Bass Drums: 14x14, 14x16, 16x18 20x20, 20x22, 20x24 tone: warm to bright: excellent projection Configuration #1: Configuration #2: Configuration #3: Rack: 7x10, 8x12 Floor: 14x14,14x16 Rack: 8x12 Floor: 14x14 Rack: 9x13 Floor: 14x16 Bass: 20x22 Bass: 20x20 Bass: 20x24 *Includes intergrated Tom Arm/Clamp & Floor Tom Legs 4 * Hardware and Cymbals sold seperatly for more information visit www.ddrum.com SKU: DS MPZ 522 NEW for 2019 LIMITED snare Finishes: shell: maple, zebra wood exotic veneer plies: 8 shell thickness: 8mm Zebra Wood hoop: die-cast bearing edge: 30/45 degree hardware: black chrome tone: warm to bright: excellent projection toms shell: maple, zebra
    [Show full text]
  • Automatic Classification of Drum Sounds with Indefinite Pitch
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Biblioteca Digital da Produção Intelectual da Universidade de São Paulo (BDPI/USP) Universidade de São Paulo Biblioteca Digital da Produção Intelectual - BDPI Departamento de Ciências de Computação - ICMC/SCC Comunicações em Eventos - ICMC/SCC 2015-07 Automatic classification of drum sounds with indefinite pitch International Joint Conference on Neural Network, 2015, Killarney. http://www.producao.usp.br/handle/BDPI/49424 Downloaded from: Biblioteca Digital da Produção Intelectual - BDPI, Universidade de São Paulo Automatic Classification of Drum Sounds with Indefinite Pitch Vinfcius M. A. Souza Nilson E. Souza-Filho Gustavo E. A. P. A. Batista Department of Acoustic Engineering Institute of Mathematics and Computer Science Federal University of Santa Maria, Brazil University of Sao Paulo, Brazil [email protected] {vsouza, gbatista}@icmc.usp.br Abstract-Automatic classification of musical instruments is Many research papers in Machine Learning and Signal an important task for music transcription as well as for pro­ Processing literature focus in the classification of string or fessionals such as audio designers, engineers and musicians. wind harmonic instruments and only a limited effort has been Unfortunately, only a limited amount of effort has been conducted conducted to classify percussion instruments (an interesting to automatically classify percussion instrument in the last years. review can be found in [1]). The main difference between The studies that deal with percussion sounds are usually restricted percussion and another instruments is the fact that the per­ to distinguish among the instruments in the drum kit such as cussion produces indefinite pitch or unpitched sounds.
    [Show full text]
  • FMEA Packet -Drumset for Nonpercussionist
    Drumset for the Non-Percussionist presented by Mike Wendeln Leon High School, Tallahassee, FL [email protected] FMEA Convention Tampa, FL January 11th, 2013 Drumset Instruments (stuff you MUST have) -Bass Drum (with foot pedal) -Snare Drum (with stand) -Toms (tom-toms) -mounted to the Bass or with legs (known as a “Floor Tom”) -Hi-Hat (includes the stand AND a pair of cymbals) -Crash Cymbal (with stand) -Ride Cymbal (with stand) Setup (follow these steps) a. Bass Drum should have support “legs” that extend from sides: these legs should be setup to extend down and slightly forward, so that the far edge of the Bass Drum is an inch off the ground. The Bass Drum Pedal should clamp snugly on the lower rim of the near side and sit flat on the floor. b. The Snare stand should be setup with the Snare Drum sitting relatively flat. (The Snare wires go on the BOTTOM). The seat or “throne” should be setup and everything arranged so that, while seated, the player’s RIGHT foot is on the Bass Pedal and the Snare is sitting between the player’s knees. The legs should make approximately a 90˚ angle between the thigh and lower leg. c. Next, remove the Clutch from the Hi-Hat post. Attach the Upper Hi-Hat Cymbal to the Clutch, thread the Bottom Hi-Hat Cymbal (upside-down), thread the Clutch on top. Tighten the Clutch so that the cymbals almost touch. The Hi-Hat goes where the LEFT foot is sitting. d. Next add any Toms to your setup.
    [Show full text]
  • Choosing a Drum Set for Worship
    Choosing a Drum Set for Worship We hope this guide will help you find the right drum set and drum hardware that fits your playing style and needs. Whether it is an affordable starter set or a sophisticated, arena-worthy acoustic or electronic kit, this guide will help you identify the right combination of gear to match your budget and percussion skills. You will learn about the elements that go into making drums and cymbals, and what to consider when shopping for drums. Before choosing a drum set, you need to be familiar with the components that go into it, these include: The Snare Drum, the Bass Drum, one or more Mounted Toms and a Floor Tom. The two other essential components that complete a full drum set, Cymbals and Hardware. We have also included a section on how to reduce acoustic drum volume, a microphone alternative, and a section on electronic drums. If you are unfamiliar with any of the terms used here, please see the Glossary of Terms at the end of this document. Enjoy! Parts of the Drum Set ANATOMY OF A DRUM TOP (BATTER) HEAD: The most basic component of a drum, the head is a round membrane made of a synthetic material usually mylar, that is stretched across the shell, with varying degrees of tension. HOOP: The drum hoop is usually made of either cast or stamped metal, although some drummers prefer wood hoops. Hoops are constructed with a flange shaped to hold the head on the shell for tensioning. TENSION ROD: These mount through holes in the hoop and thread into the lug to maintain the desired tension.
    [Show full text]